‘Eastern Promise’ starts with lush warm pads over which
soars a beautiful lonesome lead. A slow sequence emerges
without detracting from the exquisite melody. A second
tinkling sequence falls into formation with the first but then
the oomph level is really intensified as yet two more layers
of pulsations are deployed, one being a rumbling ground shaker
whilst the other provides just the right high register
contrast.

‘Anamorphosis’ features Javi Canovas and cranks up
infectious multi sequencer layers right from the off. A synth
lead then starts to spar with electric guitar. Just before the
half way mark a slow steady rhythm adds a sharp ‘cracking’
contrast to the duelling leads, the guitar especially
responding with real vigour.

As with the previous track ‘Inferno’, wastes no time in
spewing the most wonderful pulsations from the speakers, synth
and guitar (courtesy of periodic Syndicate member Rob Clynes)
weaving around each other- one moment calling, replying the
next. A new deep almost growling loop and infectious rhythm
really add to the power as the guitar starts to soar above it
all, the synth lead responding in kind with the most awesome
solo heroics. Softer leads do provide a lovely contrast from
time to time but really this track is all about excitement and
power- and I loved it!

For ‘Millennium (Live in Liphook 19/10/07)’ John Sherwood
helps out. It begins with the most delicate of raindrop type
pulsations. A second line turns the heat up a notch. The
overall feel so far though is all rather mysterious. There is
a nice ebb and flow up to around the half way mark where all
sequences descend into an organic gloop, crows flying over the
top. The mood now changes completely becoming purposeful, even
anthemic, as a positive slow rhythm and uplifting lead take us
forward. It sounds like the band are having fun playing for
the audience- studio track this certainly ain’t.

‘Arcadia’ features the fantastic Stephan Whitlan. A tender
flutey lead floats above tinkling electronics until the first
sequence picks up the pace. This is a track that builds slowly
but never becomes too boisterous, instead staying on the right
side of tenderness but with a moody twist. As with the
previous limited editions by the band this is bound to sell
out very quickly so get it
while you can!

Reviews of The
Eve of the Holocaust (Live @ Awakenings 10th June 2005)

‘Control Freak’ is initially
all rather dark, swirling and mysterious. An almost playful
sequence strikes up morphing beautifully as all manner of
cosmic effects fly over the top. Vast heavy bass flourishes
explode onto the scene, Mellotron adding a soothing element.
Slow wistful leads hover in the middle of the mix. Sampled
speech telling us that ‘There is nothing wrong with your
television set’ is used effectively (I can’t remember
which old TV series it was taken from- ‘Twilight Zone’
maybe?) then all hell is let loose as the bass flourishes
surge, forming a bludgeoning sequence of earthquake
proportions. A lead line does briefly try and provide
accompaniment but didn’t really do it for me, I am quite
happy just to absorb the waves of power surging through my
body.

‘Secrets in the Sand’ gets straight into lovely lush tron
with meandering flutey Eastern backing. It really comes alive
however when a rapid sequence enters in the fourth minute.
This is soon followed by a second.
These are allowed to bed down before synth solos are deployed,
some of them blistering while others more subtle.

‘While my filter Gently Sweeps’ features yet more
Mellotron. A ballsey sequence contrasts these lush tones
beautifully. A second higher register line of pulsations hits
just the right mark, tron swelling in appreciation. Things
don’t finish there however as a lead line and another
sequence try to do justice to the wonderful pulsating brew.

‘Eerie Interval’ is one of the band’s very few purely
atmospheric tracks. It works extremely well, the title summing
it up perfectly. It is an excellent piece of music in its own
right but also gives a break in proceedings which only gives
what is to come even greater dynamic effect.

‘Yersinia’s Genesis’ immediately heralds a return to
sequences. These are subtle at first but a bass throb emerges
hinting at things to come. Rhythms enter in the seventh minute
and we start to storm forward. This is thunderous stuff
supported by lead lines nestling in the middle of the mix. A
cracking track.

‘Omnicron’ initially makes great use of melodic sequences
and positive (even happy!) staccato lead line all backed by
Mellotron washes. A kick ass beat strikes up and in no time at
all we have an infectious body moving piece of music. Searing
lead lines join in the fun finishing things off in euphoric
fashion.

The audio CD just reviewed
has had some tarting up but the DVD that forms part of this
package is the concert exactly as it was- warts and all. It
does have multiple camera angles so there is some sense of
movement but even so it is of home movie type quality- still
entertaining though!

This album/DVD was initially sold at their gig in Hull on 23rd
August 2008 as a thank you to people who turned up. I will get
all I can but I’m really not sure how long this title will
be around.

As with their other Limited
Edition CDs this album of all new music is bound to sell out
fast. As I write half have gone already. Tron chords provide a
lush beginning to 'Control Freak'. As expected it doesn't take
long before a sequence makes an entrance, and quite a melodic
one it is too - high register but fairly rapid. Dark ominous
fizzing drones add to the build up. The sequence morphs
beautifully, gaining power all the time. Those drones also
increase in intensity, coming and going in waves, almost like
a warning siren. A bass line gives proceedings even greater
oomph. It's like being in the middle of a storm, devastation
going on all around but somehow being protected from the
external forces. Unbelievably the track just keeps building
and building becoming more bass heavy as we go, the floor
shaking in response. What an awesome opener!
'Secrets in the Sand' has an appropriately mysterious Eastern
sounding melody over more soft mellotron. Exciting rapid
pulsations come in waves carrying the track forward, providing
its backbone until more strident leads arrive in the seventh
minute. 'Haunted' starts, as expected with rather eerie sounds
but it is only a few seconds before the sequence emerges. It
is initially relatively sedate, quite melodic and absolutely
fantastic, weaving the most captivating of spells. Big slabs
of bass sound with loads of reverb add to the tension.
Spectres fly amongst the pulsations. There is subtlety here as
well with every sound beautifully placed. Take anything away
and it would be to the detriment and yet every time a new
element is added it enhances the whole wonderfully. A sedate
melody floats in the middle of the mix. Other aggressive
stabbing melodies come and go. The pace really quickens in the
ninth minute, the spectres return and a purposeful rhythm
augments the sequence. In the twelfth minute the most awesome
of melodies is introduced which transcends an already
fantastic track to one of the bands very finest if not THE
finest.

'Fuse' gets straight into a sequence and electric guitar
combination. A further bass sequence comes in as the guitar
gives it some oomph. All then seems to wind down a little as
organ joins proceedings before things take off again, the
sequences leading the way. Don't hang around on this one; it
won't be available for long.

For me this is, without any
shadow of a doubt, the best TOS limited edition album by a
long mile and maybe their best album to date.

Three of the four tracks "Control Freak",
"Secrets In The Sand" and "Haunted" sum up
what makes the music of these guys so damn special and
essential. These offerings rekindle those feelings of absolute
amazement when I first stumbled on their free SMD download
album that was my initiation into their music.

In spirit and vibe, these three tracks are more similar to
those early days than the more progressive sounding
"Apocalypse" - this is probably due to when the
tracks were recorded, these beauties have been taken out of a
dusty crate in the TOS archives and given a loving polish.
Whilst there is no denying the stature and critical acclaim
received by "Phonosphere" and
"Apocalypse", it's the predominate feel of these
tracks that really tick all my boxes.

I love The Omega Syndicates music when it is like this i.e.
lean, mean and malevolent and a nod to that old adage about
less is more. "Control Freak" is a good example of this with a
rather eerie tinkling sequence that quickly ingrains itself on
your subconscious and sucking you in totally as the track
builds up.

By contrast, the last track "Fuse" is more
progressive and meandering in feel and for me, whilst it's
good to see them experiment a bit, this track really doesn't
do it for me at all - it is rather ponderous and lacks the
bite of the other tracks.

However, the first three tracks more than make up for this and
whilst I might be accused of being stuck in the past and not
embracing a newer more freer expensave direction with their
sound, I stand unrepentant. It's music with this freshness and
attitude that would win over people who've never heard or are
still finding their feet with EM.

review by Endorphin

Reviews of
Horsemen on the Horizon:

This is a DVD and CD package of
the band's 'Awakenings' performance on the 8th July. All the
tracks except the encore are new material - and excellent they
are too! Heavenly soft choral pads mix with twittering
effects. What a beautiful way to start the album and the
opening track 'Kreigspeil'. A slow delicate sequence starts
up- subtlety being the order of the day. In the background a
feeling of menace is developing, heightened by guitar stabs.
Another sequence comes in but things are still rather strained
with the feeling of pent up power increasing all the time.
Things start to let rip in the seventh minute, becoming quite
euphoric. Loads is going on with sequences, mellotron and
synths working in harmony weaving wonderful melodies, the
guitar adding extra bite low in the mix, like a storm heard
from far away. There is no chance of monotony here as the guys
do a tremendous job holding it all together from one
tremendous moment to the next.

The quality continues
straight through to 'Equilibrium of Injustice'. First one
sequence then another shimmer round each other, like rays of
light glistening through a waterfall. Yet another excellent
sequence starts up adding to the momentum still further,
becoming like an intense laser turning the water into steam.
The heat increases as the guitar enters. A soft lead line adds
some contrast (maybe could have been a little lower in the
mix). A stronger repeated melody appears in the ninth minute
then a scything lead line really lets rip- wonderful stuff.
Tron returns to give the leads a breather before fresh lead
lines give it the full treatment. We finish with a moody
processed piano solo. The sequences strike up immediately for
'Yersinia's'. Yet another stonking melody comes to join it,
nestling nicely amongst further tron sounds. Little guitar
touches add to the interest, weaving a lovely spell, as the
sequence morphs superbly adding extra oomph to an already
blistering track. Things become even more syncopated. An organ
sound enters. One of their very best tracks.

Not to break with tradition
'Harbinger' also goads the old sequencer into life, pulsing
along gently over relaxed mellotron. Rhythm adds to the
energy, imparting a little moodiness, whilst laser sharp lead
lines flash from the speakers. The guitar is let off the leash
near the end to really let rip. It all becomes rather heady
and trippy. Yet another winner. We finish with the encore. An
oldie but a goodie in the form of 'Dark Skies' but this time a
condensed twelve minute version. It punches an even bigger
punch than before with enough differences about it to make it
well worth another outing.

The Omega Syndicate just get
better and better. This is a quite amazing album. With the CD
you also get a DVD of the concert and as there are very few
Electronic Music DVDs out there it is very welcome. It is
something of a 'home movie' however as it is taken from a
single point with no panning or zooming. The camera is just
left to run. You don't miss a single note though and it is
interesting to see the musicians do their thing - especially
the ever-active Dave Gurr, who really gives it everything he's
got! It is also nicely presented with a proper menu. An
essential purchase for any fan of the Berlin School and a
perfect partner to 'Apocalypse'.

The Omega Syndicate is back with
a strong follow-up to Phonosphere, once again exploring the
fun side of Berlin school. Lots of electronic tweets and space
twitters start the 14-minute title track. When the first
sequence appears just past 3:00 it is ultra cool. Scorching
leads fly over the top, and then mellotron strings follow in
short order. The blistering guitars sound like Tangerine Dream
in their heyday, aggressive in style but restrained in the
mix, just as it should be. Bubbly rapid loops and a thumping
beat start “The Lycanthropic Principle” with panache. A
nice interplay follows between electric guitar and light
crystalline synth tones, a real gem of a track. “Pixie’s
Playground” is next, and starts in more dreamy fashion with
flutes, chimes, and soft synth textures. A playful sequencer
pattern emerges, pinging back and forth. Just when it seems
this one will play it cool throughout, a more traditional
retro loop forms a solid bass line to propel it along with
just a bit more oomph. Then comes the 22-minute epic
centerpiece, “The Global Extinction of the Wireless.” As
The Omega Syndicate does so well, this one takes its sweet
time to develop just so. The buildup is not just aimless
meandering waiting for an obligatory sequence, there is
purpose and forethought to it. The playing is comfortable and
confident as the music hits its stride past the 7:00 mark. The
layers of synths, sequencing and guitars remind me a fair
amount of Kubusschnitt, though I think these guys raise it
even a notch above that. This would make a perfect ending to
the disc, but there are still 13+ minutes to go in the form of
“Masque.” Andy Pickford fans should go nuts for this one.
From the sharp melodies to the toe tapping beats to the
rocking guitar and synth solos, this has it all. Despite the
lengthy running time, the abrupt ending comes too soon.

The Omega
Syndicate is: David Gurr, Xan Alexander (both on synthesizers,
samplers, and sequencers), and Rob Clynes (on guitars and
various FX).

Airborne
keyboards drift into view amid an assortment of bubbling and
growling effects. These preamble elements swiftly coalesce
into a melodic cohesion with forceful drive. The keyboards
describe insistent riffs that swell to breathless proportion,
cycling into an exhausting series of extended pinnacles.
Sometimes these keys adopt a sweetly crystalline quality that
stands in marked contrast to the overall intense fashion
exhibited by the tuneage. During the third track, the
electronics achieve a pixyesque mien that is full of frolic
and jubilation.

Percussion is
generally buried in heavy treatments so as to disguise their
impact origins. Most of the rhythms end up resounding with
strong artificiality that repeats in rapid succession,
approximating the required beats.

The fourth
composition (which is also the longest, at 22 minutes) takes a
slowburn approach, accreting layers with a studious pace. Each
passage flows easily into the next, from the sedate opening to
a tense stretch of expectancy that soon reaches a stage of
glorious drama before slipping into a brief calm finale.

This is
followed by an eruptive last track that employs all the strong
elements (seductive sequencing, blazing guitar, complex
percussives, and earnest keyboards) for a gripping dose of
energetic EM.

Although they
are creating long tracks with synths, sequencers and
Mellotrons, what they produce is wholly original and while it
can be said firmly and squarely to be “Berlin School”, it
doesn’t always sound like a clone of Schulze or Tangerine
Dream.

The opening near fifteen-minute title track is a prime
example. Here the polyrhythmic sequencers are somewhat
cyclical in nature as the whole track rather lumbers its way
along like some ancient Jurassic beast rather than flying in
sprightly fashion. Around these cyclical sequencer rhythms,
all sorts of layers and backdrops form, evolve, fade, stay,
change, drop out, as warm sounding Mellotrons, phased synths,
soaring space synths, distant guitar and deep bass, plus
flowing synth melodies, all combine to form this pulsing
energy mass which rolls along slowly and to quite hypnotic
effect.

After this intensity, the solid sequencer rhythms that
introduce the seven-minute: “Lycanthropic Principle” comes
as a veritable breath of fresh air. Once again, with fuzzed
guitars, string synths and soaring flows of expansive
electronic backdrops, it all wells up and cruises along,
before a lead synth flies in, does a brief performance, then
flies out to be replaced by a searing electric guitar lead,
only then for the both of them to start duelling away, the
delicacy of one contrasting with and complementing the heat of
the other, as the sequencers and deep bass thud, thunder and
roll.

The ten and a half minute: “Pixie’s Playground” starts
off all cosmic, and we’re immediately in ‘74-era Tangerine
Dream Mellotron-drenched heaven. Around four minutes in, this
guitar-like synth chimes in with a lead melody as sequencer
rhythms well up from below and the Mellotrons fade to be
replaced by multi-layers of string and expansive synthscapes.
The top layer rhythm-as-melody lead comes sailing in over the
ever more solid sequencers and a gorgeous sounding, almost
choral synth layer soars overhead.

“The Global Extinction of the Wireless” is twenty-two and
a half minutes long, starts in cosmic space mode with synths
and Mellotrons, until five minutes in and the massed ranks of
sequencers start to roll. Immediately accompanying them is not
an expanse of synths, but a lone lead electric guitar that is,
initially, quite expansive, only to be buried by this huge
rolling mass of bass sequencers, but then to rise up in the
mix and lead the way through an ocean of sequencer rhythms. As
the track rolls on, the familiar process of layering starts to
take place as the piece evolves further, the result being a
finely crafted slice of relatively restrained “Berlin
School” magic.

Finally, a thirteen and a half minute track called:
“Masque” lights up and ends the CD with sequencers, drums,
string synths, wheezing space synths and more electric guitar
scenery, creating melodies and tunes that are easily
accessible. As a whole album, it’s probably their most
accomplished statement to date.

Andy Garibaldi

There is always a sense of
heightened expectation when I receive a new Omega Syndicate
album for review, their music is always adventurous and
impressive in the extreme. And that is the case with their
latest album on the Neu Harmony label, Apocalypse. Strangely
enough, with an album title like that you'd expect the music
to be rather doom laden and full of evil portents, but in
reality it is quite an upbeat album full of light and shade,
leaving the listener uplifted instead of waiting for the
ferryman Charon and his dog Cerberus to carry you across the
river Styx. The Omega Syndicate [henceforth TOS] are David Gurr
and Xan Alexander on synths, samplers and sequences, and Rob
Clynes on guitars and special effects, who all display their
talents across the five tracks: Apocalypse, The Lycanthropic
Principle, Pixie's Playground, The Global Extinction Of The
Wireless and Masque. TOS have released many fine albums on Neu
Harmony and are prime participants of the electronic music sub
genre 'the Berlin School', which basically means they take as
their musical stylistic template the work of the late
70s/early 80s era Tangerine Dream. So long, cosmic dreamstates
are the norm and this album has them in spades, with several
lengthy excursions to listen to while sniffing up the Horlicks.
The engineering on this album is excellent and if you have a
hi-fi with large speakers you are in for a treat. Highly
recommended!

When The Omega Syndicate burst
onto the scene in 2004 with their exhilarating debut
“Analogue Waves” they quickly made quite an impression and
many friends into the bargain. In a UK scene often accused of
being lacklustre and amateurish, The Omega Syndicate have
flown in the face of any such criticism with their exciting
and dynamic fresh sounding take on the traditional Berlin
School sound.

The follow up “Phonosphere” hinted at a change in
direction and was a bit of a transition for the band with the
trademark heavy sequences being reined in more. The end result
was a more mature sounding album that, to many, saw The
Syndicate come of age with their music. It also suggested a
band that are keen to escape being pigeon-holed into any
particular category.

Apocalypse then is the bands crucial third album and, since a
sneak preview of one of the tracks at last years Hampshire
Jam, the most anticipated. The overall sound of the album is a
lot heavier than previous releases, this is due to the
introduction of guitarist Rob who helps beef up their sound
and add a new dimension to the music. The opening title track
after a brief atmospheric intro sees a much more edgy and
melancholic Omega Syndicate with added attitude and bite.
However, a sense of balance is maintained over the course of
the album with the overall effect that it is very much an
album of light and shade - the bleakness is contrasted with
beauty and despair with dynamism.

The trademark sequencers return with “The Lycanthropic Principle” but the added guitar ensures that this isn’t
just a case of revisiting past glories and instead sees the
band confidently cross the border into prog territory.
“Pixie’s Playground” is a bright and upbeat sounding
sequencer heavy track but which is really just a prelude for
the knowingly titled “The Global Extinction Of The
Wireless” . This is a very haunting 22 minute journey and
the most beautiful piece of music the Syndicate have written.

The last track Masque is for me though the highlight of the
album. The introduction is simply fantastic, initially it
reminds me of the Ozrics circa 1986/1988 but far more sinister
and malevolent sounding. From there it goes from strength to
strength with some bombastic sequencer runs, strident guitar
lines and some fantastic melodies and soloing.

To sum up, Apocalypse is an album that had a lot to live up to
but the boys have pulled it off convincingly. Definitely the
pinnacle of their career to date and this should see them
increase their appeal greatly.

This is the third 'proper' album
by the band and sees the introduction of a new member, Rob
Clynes. He is a most wonderful guitarist, never twee but just
knowing when to provide support work and when, very
occasionally, to let rip. It is a CD which sees them mature
still further into one of the best UK Electronic Music groups
around. It is most certainly their best work to date.

The coolest of cosmic sounds
get the title track underway. This is really moody stuff.
Three minutes in and a stunning (and I mean stunning!) melodic
sequence strikes up along with some menacing cosmic guitar
playing which adds that extra bite without dominating too
much. There is the feel of pent up power about to explode.
'The Lycanthropic Principle' cranks the sequences up
immediately. A wonderful bass laden one erupts from the
speakers accompanied by sympathetic rhythms and excellent
tuneful pads. Extra bite is added in the form of superb guitar
riffs nestling in the middle of the mix. Then to make this
exquisite combination still better in comes the most stunning
lead line dueling with the guitar. Some say that guitars can
sometimes spoil EM but surely that can't be said of this, it
just works so well. If Tangerine Dream had come up with a
track like this in the last 20 years people would be in
ecstatic bliss. It really is something special. 'Pixie's
Playground' might not be my favourite title on the album but
musically it's another winner. Shimmering metallic drones mix
with sonic tinklings, a heavenly flutey synth line floating
above it all. A bouncy melodic loop adds a little extra
movement which is soon stepped up a gear as another wonderful
bass sequence rolls into formation. 'The Global Extinction of
the Wireless' begins rather moodily with a melancholy melody
just hanging in the air above delicate fizzing drones. A rapid
tinkling sequence cuts through the calmness. A second joins it
along with restrained guitar licks. Yet another sequence is
chucked into the brew and we are now storming along in almost
'Force Majeure' fashion. Things continue to gain added oomph,
the guitar taking the main melodic duties but keeping fairly
restrained, letting the sequences provide the powerful salvos.
'Masque' starts like there is a UFO coming down to land then
yet another awesome sequence rolls forward with steam hissing
from its vapour trail. What we have here is of classic Arc
proportions. The lead lines, one after another, are all
brilliant and could have come straight from Ian Boddy as Mark
wielded the mighty modular. Yes, the track's that good!

Their first album was good,
fuelled by pure joy of what they were doing. The second album
refined their style somewhat but what we have here is really
something special. I have played it many times already and
especially the second and last tracks would be on any best of
compilation I would currently make, even if I just had one
eighty minute CD to put my current favourites on. Mention
should also be made for the artwork which is an original work
by Gary Ocean portraying a half destroyed National Space
Centre! An all round wonderful package.

This release
from 2006 features 69 minutes of spacey electronic music. The
first two tracks were created in the Mind Cavern, UK, on
February 22, 2004; the rest of the music was recorded live at
the National Space Center, Leicester, on November 13, 2004.

The Omega
Syndicate is: David Gurr and Xan Alexander, joined by Stuart
Jackson for the Mind Cavern gig.

Imagine a
journey deep into the sun, where flows of incandescent plasma
are converted into streaming sound. Steadfast patterns are
evident, augmented by incidental sonic events which rise and
sink as the music persists. The more resilient sequences
endure, mutating with subtlety, devilishly creating new
harmonics that continue to change. Meanwhile, a constant
parade of hazy patterns weave among these aural nebulas,
punctuating the cloudy regions with an endless array of
enticing riffs.

What starts
out as a sparse sonic environment swiftly mounts into a deluge
of lush electronic textures drenched with mesmerizing appeal.

While
generally devoid of crescendos, this music achieves a pleasant
level that serves to entrance the audience with entertaining
stability.

This new album by the Omega
Syndicate is a pretty stunning piece of cosmic EM. Phonosphere
contains three lengthy tracks - the first is called Our
Communication Satellite Has Disappeared [15 minutes],
track two is Onyx [22 minutes] and the third and final
section is a seven part suite called Phonosphere
[approximately 30 minutes long]. So plenty of space [no pun
intended!] to stretch out and explore how much sequencer
riffage you can pack into a time limit. Actually, that is
being perhaps a little too flippant as this is a very
atmospheric album, the music constantly swirling and changing
over a background of classic sequencer sounds. There is a lot
of variety to be found within these tracks - from lyrical,
almost dreamlike instrumental solo sections to parts where the
sequencers have set up poly-rhythmical beats that might give
the Kling Klang boys of Kraftwerk pause for thought. On
reflection the first two tracks are much smoother sounding
than the Phonosphere suite, which is spikier sounding as
befits a live performance. The first two tracks are studio
recordings performed by David Gurr, Xan Alexander and Stuart
Jackson, while the Phonosphere suite itself was recorded live
at a gig held in the appropriately named National Space Centre,
Leicester and performed by just David Gurr and Xan Alexander.
I think this just the second album by the band and it shows a
mature progression of musical talent. I look forward to
hearing what these guys create in the future.

The snappily titled 'Our
Communications Satellite Has Disappeared' is a very impressive
opener. Lovely thick analogue cosmic whooshing might sound
like quite a standard way of beginning a track but there are
ways of doing it- and there is The Omega Syndicate way of
doing it! In electronic music the choice of sounds is vital
and these really are impressive- indeed they are some of the
best space sounds I have ever heard though you will need a
pretty good system to appreciate them fully. Out of this
stellar bliss first one high register sequence then another
massively bass laden one surge forwards. Again the sounds are
awesome. They constantly morph and move in and out of the mix
almost like gusts of wind surging one way then another in a
storm, reeking havoc as they go. Little lead lines fizz
between the pulsations like lightning, the mellotron being
heard from time to time as if the hand of God is making an
appearance, personally conducting the mayhem. There is no
atmospheric beginning for 'Onyx' as we are straight into a
swirling constantly changing sequence. Indeed you could say it
is completely self-sufficient containing rhythm, melody, power
and atmosphere all in its ever-shifting pattern of notes.

By the third minute it has
departed and we get an atmospheric section full of tinkling
tones (as in a soft rain) and slow tuneful pads. It reminded
me of water gently falling on a wind blown lake. A stunningly
beautiful flutey lead line takes an already exquisite track up
a further gear then in comes the most gorgeous melodic
sequence you could ever wish for. A slightly more powerful
six-note sequence gives added oomph but without destroying the
pure beauty the lead line and original sequence had already
created. A third sequence comes in, almost mimicking but also
in support of the first then the second is cranked up in
response. Pure words make this all sound rather mechanical but
nothing could be further from the case. There is an organic'
quality to this whole album. Everything is a constant state of
flux but also perfect balance. It is as if the music is a
living entity not just mere 'compositions'. We now commence
the first episode of the seven-part title track with
shimmering metallic atmospherics. This only lasts a few
seconds though before we enter the multi sequencer layered
part two. What grabs the attention most however are the
wonderful lead lines ranging from lush to awesome bass,
speaker wrecking growls. It is so powerful!

This sort of intensity can't
be kept up forever so we return to atmospherics for the
beginning of 'Part Three' Another brace of sequences reek
devastation, one hurling thunderbolts whilst the other issues
forth a torrent of rain. The lead again is like the
intervention of some divine being. But we have only started.
Unbelievably the quality gets even better and more powerful.
The sequences develop a snarl to their edges then increase in
pace as if a wolf has chosen its moment to pounce in chase of
its pray, leading to the inevitable bloody conclusion. The
fourth part calms things down with a short piano passage
before the sequences return once more for 'Part Five'. They
are rather tuneful ones acting as a perfect base for some
lovely lead lines and mellotron backing. This is still retro
bliss but with a touch of tenderness. The eye of the storm I
suppose.

'Part Six' is another very
short piano interlude taking us back to the steamroller
sequences of Part Seven- slow but powerful. You wouldn't want
to get in their way. When I first heard The Omega Syndicate I
loved their attitude of just having a bloody good time
producing Berlin School inspired music. It was exciting stuff
but didn't take itself too seriously. I am sure the tracks on
this album were done in the same spirit but these guys are
learning their craft so quickly that the quality of what they
are now coming up with is of the very highest. This album
marks a sort of coming of age - the realization if you like
that life also has a darker side.

Their
debut album Analogue Waves drew raves from Berlin
school enthusiasts. I enjoyed it well enough, but it didn’t
stand out from the pack to me. However, I can say without
reservation that I thoroughly enjoy Phonosphere. Cool
cover art, cool song titles, cool music. The bar is set high
early with “Our Communications Satellite Has Disappeared.”
Drifting space sounds start us out, then a whoosh of wind
brings the first sequence along with it, a low-key affair
followed by mellotron strings and a nifty bass sequence that
echoes the first. This one-two punch forms a strong backbone
that carries it through from start to finish as the music
slowly morphs here and there, maybe getting a little more
squelchy here, a little smoother there, but largely staying
the course. “Onyx” pings back and forth with little
electronic bits, light and bright at first before shifting
into a darker mellower section that just sort of hangs on the
air for a while. Mellotron flutes float softly by, then a
playful bouncy bass sequence come in. It stays relatively
quiet, laying back beautifully instead of trying to go for a
big dramatic build up. The title track is divided up into
seven parts totaling about a half hour. Unique metallic
abstract sounds form a brief intro before launching back into
strong melodic synths and sequencing in “Phonosphere 2.”
Best yet is “Phonosphere 3,” combining crystalline
sequences, active bass lines, and cool retro synths in a way
Redshift would admire. The fourth and sixth parts are brief
but effective piano interludes, sandwiched around two synth
and sequencer fests, the latter of which finishes things with
a flourish as soft mellotron flutes return, ringing out in the
distance. Phonosphere is an excellent album.

So titled because they performed
their second concert in Leeds. As with the first gig in
Leicester they released a limited edition album of just a
hundred copies containing all new Berlin School music (though
of course not the gig itself) to celebrate the occasion. It is
that album I am reviewing here. 'Undercurrent' has a rather
quiet beginning with fizzing, twittering electronic effects-
how gentle, how lovely- then bash, in steamrolls a rapid
metallic sequence with just the right quality of unsubtlety I
love about the band. But then what's this- a rather tender
lead line? What an excellent combination. The sequence morphs
into an even better pattern.

We get a lovely change in the
seventh minute where a new sequence stands in isolation
twisting this way and that with deep growling bass effects in
the background. The original sequence returns to join it
accompanied by some exquisite flutey synth over the top. OK,
so they can have their delicate moments, but it is all
relative, and even more effective when placed in the context
of such a sequencer heavy album. More leads come and go,
featuring both plucked strings and shimmering crystalline
sounds. It all become increasingly intense as more layers are
added. Things also seem to be ever so slowly getting faster
though this could just be my imagination. The sequences
continue to mutate and mix differently together right until
about three minutes from the end when a rumbling bass one
comes in, all else fading away as it eventually does itself.
Some titles do half the reviewers job for them, as with the
next number 'Sequencing On A Grand Scale'. A rather tuneful
but still rapid swirling sequence starts us off. This is
joined by a melodic echoing piano lead line. It is the echo
that gives it a rather cosmic feel as each phrase slowly
disappears into the ether. Another sequence, even faster than
the first falls into formation and the piano departs.
Mellotron sounds then come in providing a lovely contrast
amongst all the pulsations. The piano returns through which
the sequences surge once more but this time with even greater vigor.

These first two tracks were
good but they have saved the best to last. 'Mello-Dramatic' is
another of those self-descriptive titles and again it sums it
up perfectly, as what we have here is an ideal balance between
power and beauty. It has a very atmospheric beginning with
lonesome flute gently floating from the speakers. In the
fourth minute the best sequence on the album so far forces its
way to the surface like a steam train first being heard in the
distance, gradually getting louder as it gets closer. Its
pattern changes as a second bass heavy sequence very slowly
rises in the mix to join it. Then a third line of tinkling
pulsations nestles perfectly between the first two. Lovely
little lead detail is provided in the middle of the mix which
draws the attention first this way then that stopping us being
completely hypnotised by the cleverly shifting note patterns.
Rhythmic flourishes are added at around the half way mark then
we get a wonderful lead line higher in the mix. All sequences
apart from some percussion depart momentarily in the
seventeenth minute giving a chance for the more mellow aspects
of the track to be heard once more. They soon surge forwards
again however, more and more lead lines being introduced as we
get closer to a finish. This is one of their best tracks so
far. (DL)

Of all the sequencer based
Berlin School inspired bands The Omega Syndicate probably are
the least compromising or subtle. They do it with so much joy
and enthusiasm however, not really caring that some will find
it OTT and this enthusiasm shines through - always leaving a
huge smile on my face. Deep reverberating analogue sounds get
the opener 'Linear' off to a rather menacing beginning. A bass
sequence, full of venom, then breaks through like a tank
thundering through a flowerbed. Mellotron is added, its
softness contrasting the sequence beautifully. The sequences
are left to pound through your body for the first seven
minutes before lead lines are added, which when they come
almost snarl from the speakers. It's as if demons are flying
above, revelling in the mayhem below. 'Astral Projection'
begins with what sounds like the hum of a spacecraft engine
accompanied by all sorts of cosmic twitters and sci fi type
effects. The sequence emerges after a couple of minutes and it
is a melodic optimistic one.

More sequences are gradually
placed in formation with the first, lead lines coming and
going, becoming especially effective as we near the end. 'Xen'
has a similar opening to the last track but then we get a
mournful lead line soon followed by a rapid, even urgent,
sequence. Another more bass laden one is also deployed, as is
a steady rhythm. The lead lines now speak more of mystery as
if we are questing at lightning speed into the vast unknown.
The sequences mutate and fresh leads are brought into play,
keeping the attention locked in as our adventure continues. In
the eleventh minute (about the half way mark) things are
stripped down to mainly the main sequence through which
various cosmic effects emerge before the track slowly starts
to rebuild.

Sighing pads and soft
mellotron get 'River of Light' underway. The deepest sequence
on the entire album then breaks through. The lushness of the
backing combines perfectly with the bass pulsations which seem
to ebb and flow in intensity from near overload to a
thunderous peak then back. 'Escape Velocity' is a limited
edition of 100 released to coincide with their Space Centre
appearance. We don't have too many left so if you want it I
would advice you not to hang around.

The Omega
Syndicate are always entertaining and they donate yet another
new track 'Out of Hibernation'. A superb sequence slowly
emerges through reverberating sonic growls- and what a superb
one it is too, the best on this two CD set. Some lovely little
melodic motifs add another lovely element until the lead line
proper raises its head- and very effective it is too. More
sequences are added as the music continues its spellbinding,
hypnotic build.

The Omega
Syndicate's first offering 'Mission 11' is an example of their
more sensitive, subtle side as dark atmospherics give way to
an excellent sequence. More sequences are added as well as a
lovely synth flute lead line. The track builds beautifully but
without ever getting too OTT. When we add their second
offering 'Rave-O-Lution' it amounts to over half an hour of
new music by them. It has to be said though that this second
track is by no means typical TOS as it deploys a bass dance
beat pretty much right from the off! It is certainly still an
exciting track but I am sure it will raise a few eyebrows. I
would love to hear what current fans have to say about it.

I have no
idea who the The Omega Syndicate are - the cd inlay is
unusually reticent on offering any details other than the
track titles. However, taking such a name means someone is a
bit of a sci-fi fan and a lover of old synths... And with a
playing time of over seventy-five minutes they have plenty of
time to indulge themselves in the three tracks on show here.

The opening
of the first track, Analogue Waves, is suitably spacey,
with cosmic winds howling, synths bubbling and sampled voices
sounding off in the next universe. A slowly building set of
sequences come in just before the three minute mark and start
to create a shifting pattern of rhythms and melodies. This is
great stuff, very Tangerine Dream, but then all artists on Neu
Harmony pretty much take the 70s/80s classic TD as their
starting point. This track should be played loud and proud on
the best speakers you have, its pounding stuff, I can tell
you! Track two, 12:21 PM, starts off in very deep
space, just drifting amongst the stars, dodging comets [as you
do], until the sequences slowly edge in and there, I do
believe, is a mellotron - haven't heard one of them in years!
This track's a slow burner, taking a mid tempo trip around the
solar system [if it's Friday its Saturn!]. The last track is
called Dark Skies, and I have no idea if it is inspired
by the sci-fi tv series of a few years back. Then again it
does start with some suitably alien sounds and menacing
rumbles - it's a long [an epic 34 minutes], brooding piece
with a lot of pace.

Deeply
grounded electronic loops blend with pleasantly squealing
expressions, generating a rich combination of both ends of the
sonic spectrum. Atmospheric textures travel beyond the
stratosphere, plunging into deep space and all the cosmic
impressions that dwell out there.

Notably,
however, these ethereal passages lead to explosions of more
rhythmic substance, where the cycles spiral in on each other,
creating lush riffs that glow with verve and enthusiasm. Waves
of melody move in tandem, merging only to diverge as fresh
entities. Expansion is tantamount in this music, constantly
forging the impression that no limits exist and boundaries
that appear constricting are merely barriers hiding virgin
territories of the mind.

Percussion is
not conventionally employed. Rhythms are simulated by rapidly
generated electronic notes that occur with such proximity that
they become beats of a non-impact nature.

The three
tracks on this release expand in succession (19 minutes, 22
minutes, then 35 minutes), enabling the Omega Syndicate ample
opportunity to explore all the tangents available in long-form
composition.

As result of
this, the music’s evolution from passage to passage is
unhurried. Yet, the pace is often demonstrably more than
passive as harmonies accrete power and vigor, delivering a
tasty exposure to acceleration and mounting vitality.

There is Berlin School, then
there is Hardcore Berlin School, and then there is this! Xan
Alexander and Dave Gurr, the guys behind The Omega Syndicate, really
don't seem to care what some people might think. They like
sequences, of the good old-fashioned style, subtle as a brick
and don't see why you shouldn't crank them up, and up and up.

Why should there be a limit
to the number of sequencer lines you can have anyway? They let
rip and just keep going. I mean, there are three tracks here
averaging over twenty-five minutes each, one over half an hour
with hardly a moment to catch breath. The sounds they choose
are all so mid to late seventies but of denser proportions
than I have heard from anything actually coming out of that
period. Some reviewers are going to hate this for its pure
lack of sensitivity or originality but these guys are having
enormous fun doing what they love doing and this fun is
infectious. It certainly left a smile on my face throughout
the entire album. It is also true that there is the occasional
bum note but on the whole the lead lines are melodic and fit
the mood so well that they don't really grate, it's all just
part of the fun really.

A swirling wind, or rather
'Analogue Wave' gets the appropriately named title track
underway. It is accompanied by wonderful cosmic twitters and
other deep space effects conjuring up images of a desolate
planet far away from our galaxy. After three minutes the first
sequence makes an entrance. And what a sequence it is, rapid
and bass laden enough to shake the floor. A slow lead line,
fitting the mood perfectly, gently fizzes over the top. I was
concentrating on it so much that I missed the appearance of
the second sequence which was even more bass heavy than the
first. It all goes together to make an amazingly thick wall of
pulsating analogue sounds. Another sequence comes in, a little
higher register one, faster and more melodic than the others,
morphing in and out of the mix. We are less than 10% into the
album and already wonderfully close to overload.

'12:21 pm' commences with Sci
Fi type electronic bleeps and solar flares. It's another one
for all you space cadets out there. Just lie back and drift to
the deepest regions of the cosmos. It isn't long however
before a steam roller of a sequence rumbles forth. Little
splashes of cosmic colour add detail as a second sequence
forms low in the mix, spewing steam like a locomotive as the
initial line of pulsations become even more thunderous. Again
there is nice detail underneath as another melodic lead line
plays over the top. This is no pretty little ditty however,
being just as mean as the maelstrom it is accompanying.
Another lead comes in, even more full of attitude than the
first, mellotron putting the icing on the cake- wonderful
stuff! There is many a morphing of the sequences and even with
five minutes to go the pace increases with additional rhythm
and new lead lines heightening the excitement still further.
Rarely, for me, has twenty odd minutes passed so quickly.

Now you might think that the
guys have pushed the style just as far as it can go already
but you haven't heard 'Dark Skies' yet! There were doubts as
to whether people could take the full version of this track as
there were edits done but at the risk of it just being too
much for some people it was decided to not curtail the beast
so you have the full almost thirty five minute version. It
begins in similar cosmic style to the previous two numbers but
even more intense with a no nonsense deep reverberating drone
creating an intimidating atmosphere. Repeated, slow stabs of
sound echo from the speakers then in the second minute a rapid
but melodic sequence surges forth full of excitement and
energy. Fasten you seat belts as there is now going to be no
let up for the next, almost half hour! We step up another gear
just a few minutes later as yet another, even faster sequence
falls into formation, the backing becoming denser as we go and
an almost battle cry of a lead line flashes over the top.

Mellotron adds a little
softness but to be honest is virtually drowned out by the
storm. The sequences morph and for a moment, I though we might
be slowing down for a breather but no, instead in comes a
repeated salvo of drums and then a steady rhythm, as if golf
ball sized hail is smashing into the ground. This is
accompanied by another lead line, this time flashing like
lightning. It is as if we have all the most devastating
atmospheric conditions happening at once. The drums
momentarily depart being replaced by a repeated three and then
four note melodic motif but the energy level is just as high
as before. More lead lines come and go, the best so far making
an entrance in the sixteenth minute. It's almost catchy but
also very exciting, like laser beams shooting up from the
ground, greeting the lightning from above. It's one hell of a
solo, ideal for air keyboard whilst the rest of your body
moves to all the complex lines of pulsations bubbling away
underneath. Unbelievably more sequences keep coming.

Yet another lead solo is
introduced in the twenty fifth minute as the backing is
stripped down to only three sequences or so but it's still
more powerful than an exploding nuclear reactor! With seven
minutes to go we get more mellotron and a sort of calmness
does start to take a hold by the thirty- minute mark. Even so
a lone sequence can still be heard slowly winding down amongst
more cosmic effects until the finish. Take the CD out of the
player and go for a lie down.

With
a name like Analogue Waves, sci-fi cover art, and three
long tracks, you get exactly what these all promise – a big
dose of Berlin school synths and sequencing. The title track
reminds me a lot of fellow Neu Harmony artist Under The Dome,
very good company to be in. The sequences percolate
hypnotically along, the lead lines are understated and solid.
“12:21 pm” builds similarly, starting with atmospheric
touches before launching into another set of Teutonics. Crisp
synths and percussion ping back and forth, with touches of
Jean-Michel Jarre in the melodic structure and sounds used.
The 35-minute epic “Dark Skies” rounds out the disc with
more of the same, slow-building sequences, surrounded by
various electronic soundscapes and synth leads. The solos
sound much like Syndromeda, energetic and brisk. It’s all
well done enough, though none of it really stands out from the
pack, going down a well-worn path for this kind of EM. If you
have to have everything Berlin school, you may very well want
to check it out.

If
you talk about sequence based electronic music, some tend to
answer with rather short expressions like 'we heard it all
before', and similar. I recently caught myself saying
something stupid like that. And here's The Omega Syndicate to
prove me wrong. It is very strange how refreshing something
that 'we heard before' can actually be! Analogue waves
contains 3 tracks. 3 long tracks, that is. Those are hidden
behind a wonderful cover with the earth and the elements as
center of it all. Two statuesque human silhouettes try to get
in touch with those elements. Analogue Waves starts with a
track that got the same name as the album, which is always
simple for the artist to remember the titles, but a real curse
for the reviewer as he has to make sure to distinguish 'Analogue Waves', the album and 'Analogue Waves', the track.
What I will write in the next few lines, is about the latter
one, though the first sentence fits both track and album.
Analogue Waves starts very nice, with weird blips and beeps
and ancient-science-fiction-movie-robot-like communication
signals. The answer is a very relaxing excellent bass-line,
which brings my memories to Vangelis 'Unknown man', although
it's not the same at all. Slowly a few musical layers add some
'body' to the track. After a while, the relaxing impression is
gone, and some tension is building. There's a continuous
evolution. A nice mix of harmonic and more disturbing sounds,
but nowhere really noisy. Analogue Waves has sad and both
hopeful sounds. It builds up tension, but does not burst.
12:21 PM is the least melodic part. It starts as a pretty dark
soundscape, but soon builds towards a fast and nervous
rhythmic track. Stress is mostly on sound effects rather than
a lead-sound. Dark skies is the third and longest track. It
has a slightly nervous and repetitive rhythm, with exactly
enough changes to keep on listening to what these dark skies
will bring. It carries fast boiling grey clouds. People look
upward with a lot of respect for the building Storm. The very
bright lead sound takes the lightning closer. Analogue Waves
is not the kind of melodic electronic music album that even
Grandma appreciates. It is not the strange experimental or
noise-like industrial music. It's doesn't sound like an
on-the-spot improvised collection of musical notes, although
it leaves that impression at certain points. Analogue Waves,
and especially the 'Dark Skies'-composition keeps a perfect
balance between those elements. The stress is on the sequenced
rhythms, but around this core, The Omega Syndicate twisted a
series of sound effects and melodic parts. If the Omega
Syndicate would layer more structured melodies on top of their
magnificent sequences, the dark skies would dissolve into a
bright and sunny day. These Dark Skies never become a real
storm, which make them very nice to listen to. This is an
excellent album for people who also appreciate the more
rhythmic pieces of groups that carried the cradle of EM, like
Tangerine Dream. It sounds fresh and modern, but recognisable
and trustworthy. Something old new or... new old. Hand in
hand.